Music Journal of Northern Europe № 1 (37), 2024
Contents
Tatyana V. Kraskovskaja
M. I. GLINKA AND THE NATIONAL COMIC OPERA: MICROHISTORY IN ACTION | 1-21
Yulia A. Finkelstein
NIKOLAI NIKOLAEVICH TCHEREPNIN: PORTRAIT OF THE CONDUCTOR | 22-32
Ekaterina G. Okuneva, Igor O. Konovalov
“ANATOMIC SAFARI” BY PER NØRGÅRD:EXPERIMENTS WITH THE ACCORDION | 33-49
Vera I. Nilova, Eleonora G. Bosenko
MAURICE RAVEL’S CHAMBER VOCAL WORK: THEATER AND EARLY FRENCH CINEMA | 50-61
Igor V. Soloviev
ON THE ISSUE OF SYNCRETIC CONCEPTS OF SOUND PERCEPTIONS IN THE SAAMI ETHNIC TRADITION | 62-77
Vladlen M. Petrov
ANALYSIS OF THE PIANO SONATA OP.1 BY J. BRAHMS | 78-97
Maria V. Kozak
ТHE FILM MUSIC OF AVENIR DE MONFRED | 98-114
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Tatyana V. Kraskovskaja M. I. GLINKA AND THE NATIONAL COMIC OPERA: MICROHISTORY IN ACTION | 1-21 |
Аннотация: The article examines the facts of M. I. Glinka’s biography related to the malorossijskij opera singer and composer S. S. Gulak-Artemovsky, in whose creative formation Glinka played an important role. Gulak-Artemovsky’s opera “Zaporozhets beyond the Danube” is considered as a model of the comic national opera in the aspect of Glinka’s operatic quest. The methodology of microhistory makes it possible to understand the musical and historical process of the formation of the national opera school, in which Glinka played a fundamental role.
Ключевые слова: M. Glinka, S. Gulak-Artemovsky, national opera, comic opera, microhistory
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Yulia A. Finkelstein NIKOLAI NIKOLAEVICH TCHEREPNIN: PORTRAIT OF THE CONDUCTOR | 22-32 |
Abstract: The article is devoted to the study of the unexplored field of N. N. Tcherepnin’s creativity – his conducting activity. The author quotes statements of his contemporaries, the facts of his biography, which make it possible to recreate the image of the musician who made a great contribution to the formation of the national school of conducting. The features of Tcherepnin use of orchestral instruments are outlined. It is shown how, as a result of the practice of orchestra management, to which the musician devoted most of his life, the features of his musical language and orchestral style were formed.
Keywords: Nikolai Tcherepnin, composer, conductor, orchestra, Russian music of the early 20th century, silver age, musical modern
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Ekaterina G. Okuneva, Igor O. Konovalov “ANATOMIC SAFARI” BY PER NØRGÅRD:EXPERIMENTS WITH THE ACCORDION | 33-49 |
Abstract: The object of study in the article is the accordion suite “Anatomic Safari”, created by the Danish composer Per Nørgård in 1967. It is an example of an experimental composition, which presents an expanded treatment of the instrument. The article analyzes the timbre and sound effects of the pieces, reveals the features of graphic notation and methods of new instrumental techniques (vibrato, glissando, clusters, keyboard noise, flat fingers, coagulando, register key clicks and more). It is noted that the artistic concept of the cycle can be interpreted in two ways: both naturalistically ‒ as a process of human illness and recovery, and “ontologically” – as a diagnosis of the constructive and sound capabilities of the accordion, on the one hand, and as an attempt to explore the nature of sound, on the other hand.
Keywords: music of the 20th century, Danish music, accordion music, Per Nørgård, “Anatomic safari”, new instrumental techniques
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Vera I. Nilova, Eleonora G. Bosenko MAURICE RAVEL’S CHAMBER VOCAL WORK: THEATER AND EARLY FRENCH CINEMA | 50-61 |
Abstract: Noticed by Rolland the ironic aesthetic was predetermined both by Ravel’s personal characteristics and by the trend that the Spanish philosopher and culture expert Ortega y Gasset drew attention to. The article is devoted to the study of Ravel’s chamber vocal works in the modes of the French theater of the early XX century and early French cinema.
Keywords: Ravel, chamber vocal music, Marot, Verlaine, Mallarmé, tradition, theatrical experiments, early French cinema
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Igor V. Soloviev ON THE ISSUE OF SYNCRETIC CONCEPTS OF SOUND PERCEPTIONS IN THE SAAMI ETHNIC TRADITION | 62-77 |
Abstract: The article reveals the basic concepts of archaic syncretism in the traditional Saami musical culture. Using the example of traditional genres, the origins of their functioning are revealed in close connection with mythological perception and sound thinking, integrated by the specificity of the natural space of ethnic tradition. These provisions are aimed at studying the Saami musical culture in the holistic perception of the sound creativity of the ethnic group, which determines a systematic approach to the study of traditional musical culture.
Keywords: Saami, syncretism, synesthesia, narrative, yoik, luvv’t, imitation, zoomorphic dances-pantomimes, saami traditional instruments, audio-kineso-visual perception channel
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Vladlen M. Petrov ANALYSIS OF THE PIANO SONATA OP.1 BY J. BRAHMS | 78-97 |
Abstract: The article is devoted to the analysis of interpretations of the Sonata Op. 1 by Johannes Brahms, which is the clear example of the composer's early work. The concert interpretation of the Sonata by Svyatoslav Richter (Lübeck, 1988) and the studio recording by Christian Zimerman (Deutsche Grammophon, 1980) are compared. Both musicians are prominent representatives of different piano schools and occupy a prominent place in the history of world performance. The article examines the individual features of their interpretations of the Sonata by Brahms, concerning rhythm, dynamics, pedalization, agogy, intonation.
Keywords: Johannes Brahms, piano sonata, S. Richter, Ch. Zimerman, performing arts, drama, imagery, romanticism
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Maria V. Kozak ТHE FILM MUSIC OF AVENIR DE MONFRED | 98-114 |
Abstract: The article examines the music of Avenir de Monfred (1903–1974) for cartoons by Polish-French film director Walerian Borowczyk (1923–2006). The collaboration between de Monfred and Borowczyk lasted throughout the 1960s, when four works of different genres, graphics, drama and sound design were created in tandem with the director and composer: “Renaissance” (1963), “Encyclopedia of the Grandmother in 13 Volumes” (1963), “Concert of Monsieur and Madame Cabal” (1964), “The Theater of Monsieur and Madame Cabal” (1967). In the legacy of the film composer, music was not the predominant type of creativity, but the main features of de Monfred's style in the field of academic music can be traced in his film works.
Keywords: Avenir de Monfred, Walerian Borowczyk, Jacques Forgeau, French cinema of the “New Wave”, media text, “Renaissance”, “Encyclopedia of the Grandmother in 13 Volumes”, “Concert of Monsieur and Madame Cabal”, “Theater of Monsieur and Madame Cabal”
